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 instrument. We find evidence of this correlation as early as the Ṛikprātiśākhya in the statement that 'the yama (liturgical scale) is the svara (instrumental).' As we have seen, the Sāman scale was conceived as a downward series and the instrumental scale as an upward series. The names used for the instrumental scale in the ancient books are those in use to-day all over India. The clue to the interrelation of the two scales is found in the identification of prathama and gāndhāra. With this we get the two scales as follows, each forming a saptaka or 'cluster of seven.'

Nishādha Dhaivata Pañchama Krushta ... ... ... Madhyama Prathama ... ... ... Gāndhāra Dvitīya ... ... ... Ṛishabha Tritīya ... ... ... Shaḍja Chaturtha ... ... ... (Nishādha) Mandra ... ... ... (Dhaivata) Atisvarya ... ... ... (Pañchama)

The external relations of India in the early centuries of the Christian era are too obscure at present for us to be able to say whether the musical systems of Greece, Arabia and Persia have any definite relationship with that of India. It is certain that there was considerable intercommunication and commercial intercourse between India and each of these countries; and recent researches have shown the extent of Persian influence in India during the Maurya Empire (c. 300 ) The musical systems of these countries show so much resemblance in certain essential features that it seems clear there must have been some connexion between them. The likeness is much closer than it is with the music of Japan or China. It is well known that GāndhĹra (the district of Kandahār) was in those early days a centre of Greco-Indian culture, as the Gāndhāran sculptures testify, and Taxila (near Rawalpindi) was the seat of a very important Buddhist university. Though Buddhism has never been associated with a special development of